The Jam were definitely a second-generation punk band, one of the seemingly hundreds of bands that appeared in the wake of "Anarchy in the UK." It's possible that they might even be the band that Joe Strummer sneers at in "White Man in Hammersmith Palais," the band "too busy fighting/For a good place under the lighting" and "turning rebellion into money." (The Jam had been kicked off of the Clash's first major UK tour.) Paul Weller certainly knew how to raise folks' hackles: besides the band's Modish black and white suits, he deliberately raised two fingers to the punk orthodoxy by claiming that the band were going to vote Conservative at the next election. (Given the defiantly Leftist political views Weller would espouse for the rest of his career, one assumes that endorsement was made strictly for shock value.) Regardless, the Jam were one of the first punk bands to make the transition into the mainstream of the British music scene, managing to get onto Top of the Pops with their first single, the brilliantly catchy "In the City." Powered by a memorable guitar riff and Bruce Foxton's prominent bass line, "In the City" is a small marvel, distilling the inchoate roar of the Sex Pistols' and Clash's early sound into a tight little two-minute pop song suitable for radio play, yet with just enough spit and grit to keep the band from losing their punk cred, most notably in Weller's yobbish lead vocal and street-oriented lyrics. They must have been doing something right; not only was "In the City" a reasonable chart hit, the Sex Pistols paid the Jam the ultimate backhanded compliment: "Holidays in the Sun" unashamedly ripped off its main guitar riff from "In the City."